Educational, Literary and State Authorities and the Publishing Trajectories of Legacy Children’s Literature in Early Soviet Russia
Beginning in the early 1920s, Bolshevik leaders proclaimed the need to radically revise the pre-revolutionary legacy of children’s literature and to create new Soviet books for children. In our paper, we seek to disentangle what factors played a role in the chances of legacy authors and works to be included in the limited selection of appropriated children’s classics by the 1930s. Based on thе comprehensive bibliographic data on books for children printed between 1918 and 1932 along with several authoritative Soviet sources recommending books for children, we use statistical modeling to assess what authorities effectively served as a kind of “security certificate” protecting certain authors and books from the default purge policy. Our results indicate that inclusion in the 1923 Narkompros list of authors whose work was pronounced a state monopoly, as well as inclusion in the Gorky’s list of books suggested for his “World Literature” publishing house both had a significant positive effect on the number of printings by the given author. Contrary to our expectations, the popularity of the author in the pre-revolutionary anthologies for children did not promise any significant publishing growth prospects in the 1920s and early 1930s.
In article a process of working over up-to-date Russian edition of Marxian "Capital" (3 volumes) in interaction with international project MEGA (Marx-Engels Gesamtausgabe) is described and analyzed. The content of historic-economic materials and documents including in these volumes as appendices is reflected. An accent is made on translated articles of L. von Bortkiewicz, M. Bouniatian, T. Avdalbegian, F. Quesnay, W. Leontieff, which are for the first time published in these volumes.
The article reconstructs the history of the creation of Russia’s literary canon in the second half of the nineteenth century, and more speci cally – the phenomenon of Russian classic literature as codi ed in the high school curriculum of the time. The fact that teaching Russian literature was not abandoned in schools in the 1870s and that the writings published before about 1842 had acquired the status of “classics” owed to a very speci c political constellation. The author argues that the turn toward classicism in education in the early 1870s by the newly appointed minister of public education, Dmitry Tolstoy, re ected the regime’s determination to embrace and promote Russian nationalism while curtailing its democratic potential. This both opened up an opportunity for Russian literature to be included in the school curriculum and mandated the format of this inclusion as rigid lists of compulsory reading.
This chapter compares the Soviet and the Western children’s books of the 1920s–1930s. The creative output of the Soviet innovative artists and writers was in many respects isomorphic to the production of the modernist left artists and educators in the West. The various kinds of formal experiments in the sphere of visual representation are considered in detail. An important topic that is investigated is the “production book”, the genre of children’s books about machines and about how things are made. It corresponds with the idea of “here and now” proclaimed by the American educator Lucy Sprague Mitchell. A special emphasis is placed on the demonstration of similarities in the concepts of the New Man (Soviet) and the New Generation (American).
Children’s Literature and the Avant-Garde is the first study that investigates the intricate influence of the avant-garde movements on children’s literature in different countries from the beginning of the 20th century until the present. Examining a wide range of children’s books from Denmark, France, Germany, Hungary, the Netherlands, Russia, Sweden, the United Kingdom, and the USA, the individual chapters explore the historical as well as the cultural and political aspects that determine the exceptional character of avant-garde children’s books. Drawing on studies in children’s literature research, art history, and cultural studies, this volume provides comprehensive insights into the close relationships between avant-garde children’s literature, images of childhood, and contemporary ideas of education. Addressing topics such as the impact of exhibitions, the significance of the Bauhaus, and the influence of poster art and graphic design, the book illustrates the broad range of issues associated with avant-garde children’s books. More than 60 full-color illustrations demonstrate the impressive variety of design in avant-garde picturebooks and children’s books.
The memoirs of Jewish amateur writer P. Vengerova and Russian writer/educator E. Vodovozova have many commonalities in their plot lines. Yet the approaches of the memoirists towards the description of their childhood were different. While Vengerova builds her memoirs on the myth of the Golden Age of Jewish authenticity lost in the course of assimilation, Vodovozova perceived her childhood against the foil of Russian serf-ownership. The strategies and methods of the writers derived from their approaches.
The article is a critical review of the current condition of canon formation studies in Russia in its connection to Pushkin epoch and ‘golden age’ of Russian Literature. Besides, article reviews Pushkin reading which took place at the University of Tartu
"Semiotics of Scandal" is the third collection of the series "Mechanisms of culture". It presents the materials of an international conference held at the Center for Slavic studies (Sorbonne, Paris). The authors, using different methodologies, analyze different forms of scandal as one of the dominant categories of the literary process, history, and politics.
The paper is focused on the study of reaction of italian literature critics on the publication of the Boris Pasternak's novel "Doctor Jivago". The analysys of the book ""Doctor Jivago", Pasternak, 1958, Italy" (published in Russian language in "Reka vremen", 2012, in Moscow) is given. The papers of italian writers, critics and historians of literature, who reacted immediately upon the publication of the novel (A. Moravia, I. Calvino, F.Fortini, C. Cassola, C. Salinari ecc.) are studied and analised.
In the article the patterns of the realization of emotional utterances in dialogic and monologic speech are described. The author pays special attention to the characteristic features of the speech of a speaker feeling psychic tension and to the compositional-pragmatic peculiarities of dialogic and monologic text.